Search Results: POETRY from Thomas A Goldwasser Rare Books

[Bolinas]: Sara Schrom, 1979. Photocopied sheets, side stapled. Lower cover detached, else very good. *"An unauthorized Xerox of the Original Fuck You Press publication with special addenda of Canto CXX". An interesting derivative, second-generation piracy. "Canto 120" (one of the fragments from Canto 115) is reproduced from "Anonym", Buffalo, 1969. letter from the perpetrator are included. See Gallup C1885.

West Branch, Iowa: The Cummington Press, 1966. First edition. One of 125 copies. Slight foxing on the last leaf, as usual, otherwise fine.

New York: Liveright, 1933. First edition. 8vo. Original brown cloth, gilt-lettered on front cover and spine (spine very slightly faded). FIRST EDITION, DELUXE LIMITED PRESENTATION ISSUE, number 1 of 50 copies. These presentation copies were specially bound in brown silk, with black endpapers, and contain a press-numbered colophon on p.[ii].Not issued with dust jacket. Copy of Grace Hart Crane, the poet's mother (her signature on frontispiece recto, dated March 1933). For the four years preceding Crane's suicide, Grace Crane had not spoken to her son. She nevertheless became his literary executor and devoted her life to promoting his work. Frank's Editor's Note acknowledges his principal debt to her for assistance in preparation of this volume. A VERY FINE ASSOCIATION COPY OF THE SCARCE DELUXE ISSUE .Although the better-known Waldo Frank was credited as editor, most of the work was actually done by Samuel Loveman. Schwartz and Schweik A 4.1 Presentation Copy note. Provenance: . Christie's New York,… Read More

New York: Liveright, 1933. First edition. First Edition, third issue. 8vo., original maroon cloth titled in gilt and ruled in blind, [Schwartz & Schweik A 4.3].

New York: Liveright, 1933. First edition. 8vo. Original brown cloth, gilt-lettered on front cover and spine, edge-worn, the spine is chipped and faded. Copy 14 of the special issuel imited to only 50 for presentation only to friends of Hart Crane. This copy was given to poet Allen Tate and is signed by Tate in pencil on the front free endpaper. Tate has also marked or highlighted occasionally throughout. Given the close relationship between the two poets, during Crane's lifetime, and his championship of Crane for the rest of his career, a most significant association copy. [Schwartz and Schweik A 4.1, Presentation Copy note].

New York: Liveright, 1933. First edition. 8vo, original dark maroon cloth. First edition. A fine copy in near fine dust jacket with touch of wear at head and tail of spine panel and several corners, several tiny closed tears at edges, and small transparent paper tape reinforcements at head and tail of spine panel. An attractive copy. Schwartz and Schweik A 4.1.

New York: Liveright, 1933. First edition. First Edition, second Issue. 8vo., original maroon cloth titled in gilt and ruled in blind, front inner hinge shows a crack. This book belonged to Betty Crane Madden. From the collection of Vivian Pemberton, Emeritus Professor of English, Kent State University. [Schwartz & Schweik A 4.2].

London: Boriswood, 1938. Second edition (first British edition). Grey cloth, very good, without dust jacket. Schwartz & Schweik A 6.

3 autograph and 10 typed letters signed. The first submitting poems (Ciardi edited The Saturday Review's poetry), mentioning Ciardi's article and his own lecture on Frost's "Stopping by Woods" (sic). The others from 1969 concern teaching at Breadloaf. With one carbon from Ciardi.

[New York]: [Adventures in Poetry], 1974. First edition. Brainard, Joe. Wrappers,stapled, 8-1/2 in. x 11 in. Slightly marked, near-fine copy. Cover design and illustrations by Joe Brainard,

Cambridge, Mass: Printed by the Lowell-Adams House Printers, 1966. First edition. Wrappers, very fine. Printed on outside of double leaves uncut at top. One of 100 copies, numbered and signed.

Santiago: Zig-Zag, 1966. First edition. Original yellow printed wrappers, spine faded and lightly worn. Very good.

London: Hogarth Press, 1924. First edition. One of 400 copies hand printed by Leonard and Virginia Woolf. Yellow, green and red patterned paper over boards, yellow title label. 57 pp. A bright, near-fine copy. Woolmer 51.

New York: The Brownstone Press, 1967. First edition. Wrappers, fine.

Caldwell, Idaho: The Caxton Printers, 1936. First edition. 8vo, 130pp. Publisher's full black leather, extremities rubbed. De Luxe edition, limited to 10 signed and numbered copies, of which this is #3. With Loveman's inscription: This is my own copy. Samuel Loveman." Important collection of early 20th century American gay poems. With a two page preface by Benjamin de Casseres. Young 2393. Kiefer Catalogue 1065.

New York: Pagan Publishing Co, 1917. 4-1/4 inches x 4-1/8 inches. Excellent condition, glued to a larger sheet of tan paper. Crane's first poem written and published after his move to New York, as by Harold Crane. From Hart Crane's papers, preserved by Betty Crane Madden. Schwartz and Schweik B 41.

New York: Adventures in Poetry, 1974. First edition. Rivers, Larry. Wrappers, stapled. Cover design by Larry Rivers. Fine.

No Place, 1979. First edition. Wrappers, 11 x 8 1/2 inches, stapled. Very good.

Real photo postcard. Approximately 3 x 4.5 in. Hart is reposing with Peggy against a tree in the front yard of their home in a suburb of Mexico City. Crane is dressed in his favorite French sailor's suit. This postcard is inscribed in Crane's hand: "Our front yard Mixcoac." This photograph was enclosed in a letter to Betsy M. Crane, Crane's stepmother, in early 1932. This photo was published in "Voyager" from an example then in the collection of Richard Rychtarik, now probably in the Fales Library of New York University. There is one other reported copy: it is at the Butler Library at Columbia University; and came from the Malcolm Cowley collection. The letter is in the collection of Kent State University. From the collection of Vivian Pemberton, Emeritus Professor of English, Kent State University. In very fine condition.

New York: Viking, 1930. First edition. 4to, 1/4 cloth. Spine darkened and rubbed. Signed by Hart Crane and Alma Crane. Alma was Hart Crane's aunt, who worked in a Cleveland bookstore, where she sold copies of "White Buildings" "to every customer who was a reader of poetry and to a few who were not," (Unterecker, p.472). Housed in 1/4 morocco clamshell box.The last poem in the book is Hart Crane's "The Dance" [Schwartz & Schweik B25].